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Retouching Techniques

so back in our pro level retouching secrets. Now what you've seen so far when we've been using the smart brushes on portraitists, we did a little teeth whitening. We did a little lipstick, adding and things like that. And I mentioned that using those smart brushes in looking at the layers that elements creates in the background four years a great way to learn how to do those techniques manually. Well, this is one of those times when we're gonna go ahead and do it manually. So this is a pretty nice image, but these air, not her original eyes. Okay, this is what the original image looks like. And I like to call this the five second I enhancement technique. And all we've done here is I've created an adjustment layer. I've changed its color blend mode to one of the modes in the lightened category. Remember earlier we talked about how the first mode in these two categories give you a clue as to what will happen to your overall image? Should you choose to use one? Well, anything in the Latin...

category is going to create a lighter version of your image. So that's all I did to lighten these eyes and ensuring the layer mask that tags along with every single adjustment layer. I hid the lightning from everywhere but her irises and the whites of her eyes. If she would, you were smiling and we could see teeth. I would have revealed the whitening on her teeth as will. So let me show you how to do this technique. I'm gonna go ahead and throw this layer away. And for those of you who are following along, remember, you can download the images were working with image number seven in the full edit mode folder. So it's number seven I enhancement. And with the naming of the images, if if you actually look at the name this document, I enhance empty adjustment layer, I kind of give you a clue as to how I did the technique in the final name. Tried to, you know, Levy a few crumbs there, so we're gonna use an adjustment layer to apply this I lightning. And this time you've seen me go up to the layer menu and choose new adjustment layer. This time, I'm gonna show you another place to get at these adjustment layers and that is at the very bottom of your layers panel. There is 1/2 black, half white circle, this guy right here. And if you give it a click, you will open up a list of all those different adjustment layers. Okay, that you can create. Okay, so it doesn't matter which way you get at them. Whether you do it from the bottom of the layers panel or from the layers menu, it's the same list. Now for this one. If we just look at what our adjustment layer options are here, we already know that these three fill a whole layer with color. Okay, Solid, colored, radiant pattern. That's not really what we want is what we want, really is just to get at the blend mode, change that screen blend mode changed that showed you just second ago. So the layer I'm gonna choose is called levels, and I am Onley choosing it because it's the 1st 1 in this list that won't actually cause a change to happen to our image. Okay, I call this technique at using an empty adjustment layer because we're just creating the adjustment layer to get at it's layer blend mode. as well as its layer mask. We're not actually gonna make an adjustment with this adjustment layer. That makes sense. So here we have a layers adjustment. I'm gonna go ahead and collapse this panel because I'm not actually going to make a change to the levels in our image. Okay, I'm gonna go ahead and just collapse that, so I don't see it. Okay, so now here I am. I've got my levels adjustment layer. If I change the blend mode to screen, which is in the lighten category, my entire image is going to get lighter just instantly. Okay, Now, if I come back and I feel this layer mask with black if you remember, the Ryan Black conceals white reveals if I feel that mass with black, I will be hiding the lightness change. And then I can go back in and reveal it on Lee on the irises of her eyes so I could do in a couple different ways since I want to hide the majority of that change. And again, the change is using an empty adjustment layer changing its blend mode to screen, which is in the lightened category which causes the whole image to get lighter. I can either go grab my paintbrush. Regular paintbrush said it to paint with black is black, conceals white reveals and I could painstakingly paint over the whole image with black, which is effectively hiding that lightning change from the areas that I'm painting over with black. Okay, I'm not painting black on the image. I'm simply hiding the lightness change that I just brought about by changing this adjustment layers blend mode to screen. OK. However, if I'm pressed for time, isn't there a faster way to hide the change from the majority of the image? And the answer is absolutely yes. Fill this layer mask with black from the get go, and then come in with a brush set to paint with white and paint on lee on the irises or the teeth or the whites of the eyes. Whatever needs to be lightened. Okay, So in other words, you're hiding the whole mass and then you're revealing it Onley in those small areas. Okay, so I'll go ahead and delete this layer and we'll do it again. So, using little half black, half white circle the bottom of the layers panel, I'm gonna choose levels again just because it's the 1st 1 in the list that won't actually do anything to our image. Go ahead and collapse the adjustment panel because I'm not gonna use it changing my blend mode to screen, which is in the lighten category. My whole image gets light now with this layer mask activated and you know it's active because it's got that extra little bracket around its corners. I'm gonna try it right up to the edit menu and shoes Phil Layer, and I'm gonna choose Black from the EU's poppet menu. This would be the equivalent of painting over the whole thing with a black brush way faster. So always look at how large the area is. You want to reveal this change on, you know, if it's a really small area, feel the massive black to hide it all and then bring it back. So now I've still got my regular brush tool activated. If black conceals and white reveals, I want to paint with what so I can either click the curved arrow above my foreground, a background color chips to flip flop them, or you can simply press the X key. See how they're flip flopping as I press X Now I can come over here, make my brush smaller, zoom into my image a little bit with command or control. Plus, use our space bar trick to reposition the image while you're zoomed in. And as you paint, you're revealing the lightning but Onley in the area that you paint. So I'm gonna do the irises only on this one, just to give you an idea of what an amazing change this can make to a portrait, you would be hard pressed to find a single portrait in a magazine of any kind in the entertainment Weekly. Anything that has not had this exact technique apply. And the steps are identical in Photoshopped to we've got any of those listeners. So let's just look at the before and after will toggle our visibility often on of our adjustment layer. So there's the before there's the after. That's a huge difference. Okay, so what if it's too much of a difference? It's a little bit too strong. No problem. Lower opacity so that the retouch looks real to you. Okay, Now, if I decided I wanted to reveal the lightning on the whites of her eyes as well. I could certainly do that. And you could go in into the layer mask here and say the rhyme in your head a little bit more. You know, Black conceals white reveals. Okay. If I want to reveal, I need to be painting with white. Make sure why is your foreground color chip and then you can come over here and I'll zoom in So you actually see what I'm doing. Then you can reveal the lightning on the whites of the eyes to if they need it. Okay. So you could go in here and say I always keep my fingers on my left and right bracket key so I can change brush size. For those of you that do have a graphics tablet, you can set up one of the buttons on your stylists, the rocker switch to go down or up and brush size. That's another handy way to do this. Okay, so here's our before, and our after it makes a really big difference. Now, let's say that you wanted a little bit more eye brightening. You know, if you had the opacity all the way up to 100% in the eyes weren't bright enough for you. Then you could duplicate that layer. It's gonna look real funky when we do here, but you see how you can keep increasing the effect without having to start over despite duplicating those layers. Okay, and again, you can adjust the capacity of the second layer to bring it back down to something that looks realistic to you. Now think about the power of this one. Technique. This is good for lightning, anything, anything, maybe something that's under exposed in an image. You could use this technique toe lighten. Okay, so it doesn't have to be on Lee used on irises or teeth or whites of eyes. It could be used on anything at all the ending, the lighten. But it's a great way to keep your Photoshopped document file size down because there aren't any pixels in these adjustment layers. It's simply elements keeping a list of instructions of what you wanted to change. Okay, so it's not like a layer filled with paint, which a lot of those do make your Photoshopped file size larger. This is a very efficient way of editing. In old days, I say the old days, probably 35 years ago. To do this technique, folks would duplicate the image layer okay, so we could choose layer duplicate layer. And then we could change the layer blending mode to screen. And then we could come in, and we could either add a layer mask manually to hide that lightning from the areas that don't need it, or go in with the eraser tool to erase the lightning from the areas that don't need it. Okay, but that's you know, it's a more more steps, takes longer, isn't as efficient and always tell. Folks were at a neat place in our Photoshopped careers, whether it's elements or a photo shop CS, that there are new and better techniques that allow you to build in more efficiency and flexibility in your document. And using empty adjustment layers is one of those. So any time you want to lighten or darken anything, you can use an adjustment layer, and that will keep you from having to duplicate your image layer so many times the ads fat to your file size. Okay, so are there any questions on the I lightning technique? A quick question from Ruby P is How is the screen layer for the eyes? Better than dodging? Oh goodness, how is using the empty definitely better than dodging? Dodging is a tool from the old photographic days of dark rooms that was used to lighten photographs. It's horribly destructive, so to do it non destructively, you would have to duplicate your image layer, which would add fat to your file size. So using an empty adjustment layer is more efficient. You know that way, and there's no way to fine tune what you've done with the Dodge Tool. You could paint, paint, paint, paint, toe lighten. But what if you lighting too much? Where do you go from there? You've got to start over. So with the adjustment layer technique, it's infinitely flexible. You know, you might start out revealing the lightning on the whites of the eyes and the Irish and then go back inside. Oh, it looks better just on the Irish, whereas if you did that with the Dodge Tool, you have to completely start over. So more flexible. There was a quick question from Todd, who asked, Does elements port pen? Pressure sensitivity? What was the question? The question is, does elements support, pen pressure sensitivity. I do believe it does. I'll describe the brush tool over here. Used to be an icon right up here. This will change the Russian toe airbrush mood. There we go. So if you click the little downward pointing triangle if you have the brush to activated to go to the options bar and click the downward pointing triangle, you can get some options for using a tablet. Check the settings of pin pressure on the tablet Should control. Yeah, so you can adjust some of that using this whole dialog box right there. Anything else? Okay, great. Well, let's keep cruising on ongoing. Close this image out. Now. I want to talk with you about using the healing brush is in a safer way. Case we're gonna be working with final number nine or actually found number eight here. So I go ahead and open up this image. Now, this little girl is extremely unhappy. And if I turn off the layer that I made Teoh fix all that, you'll see why she's unhappy. Bless her heart. So what we want to do is we want to use the spot healing brush built into elements to get rid of these blemishes. Now you'll notice that I have all these spots on their own layer so I can turn off the visibility of the little girl. And we're seeing on Lee the parse that I fixed when I talked with you earlier briefly about doing each retouch on a different level so that you have opacity control. This is the kind of thing that I'm talking about, so to keep me from having to start over in place, I accidentally zappa mole that my client really liked. I'm gonna do all of my zapping on separate layers. So that's what I want to show you, how you can use the spot healing brush and the healing brush to do all this on empty layers. So I'll go ahead and delete this layer, and the first thing we want to do is add a new layer onto which are healing is gonna take place. So we'll go ahead and do that. I'm just going to click the little new layer icon at the bottom left of the layers panel, and I'm gonna double click the name and we're going to call this spot healing just to keep track of what's happening on which layer. Now we're going to go grab the spot healing brush, and it cleverly looks like a Band Aid with a little dotted spot above it. Energy might expect. It's great for fixing things that are around because we're going to use a brush cursor and you think if you can position the offending thing inside of the brush cursor, it's literally a one click to get rid of it. And that's all. But there are a couple of other things we need to do before we start clicking around this tool. So I've got the spot healing brush active, and we'll talk about the healing brush next. Now up in the options bar, you'll see that we have a slew of options here, okay? And by default, this brush is going to be set on proximity match, which is what you want when you're getting rid of this kind of a blemish on the face. Because what elements is gonna do is if you position your cursor, I'll just make a little bit bigger over a spot. Let's say we're going to get rid of this one right here. Elements is gonna look at the pixels directly outside of that brush cursor. It's gonna copy them. It's gonna pace them on the inside of the brush cursor, and it's gonna swish them around so they look. Riel is blend them together. So the reason you want to keep it on proximity match is because that's what's happening there is looking at tone and texture right outside the brush cursor, which is what you want for this kind of technique. So we've got that turned on. The next thing we need to do is we need to turn on sample all layers because this is going to make elements do the healing on the empty layer it's gonna make it. It sees that you're on an empty layer, but by turning on that sample all layers, you're saying, Hey, elements. I fully realize I'm on an empty layer. I would very much like it if you lived through this empty layer to the layer that actually contains pixels underneath. That's all you're telling it by that. If you do not have that check box turned on and you start trying Teoh, he'll things on that layer. Nothing will happen because there are no pixels there. So we're gonna turn that guy back on. So now we want a position. Are cursor over the first offending little blemish and we're gonna give it a single click, and that is it. You are free to go? No. So here again, another great opportunity to keep your fingers on the right and left bracket keys so you can quickly go through and change your breath size. Now, you don't have to change the brush size for every single one. But let me show you what happens if we have a little bit of too big of a brush. Okay, let's say we want to try to zap this blemish right here. If we make our brush large enough to encompass it, Do you see how close the edge of the brush is to the edge of her face? We will risk copying that hard line of the face onto the blemish. Okay, So that's why I always advocate keeping your brush a smallest possible. And in a situation like this, I would probably position my brush like that. So I wasn't is close to the edge of her face, and it goes right away. Okay? You can also click in drag with this tool if you want. So to get this area right here a little bit difficult for that to fit inside the round brush cursor, you can just click and drag to repair that area, and in that case, elements will look outside of the area that you've highlighted and grab all those pixels and copy them on the inside. But you can see what an amazing job this does. And again with the space bar to move around within the image while you're zoomed in and you just wanna watch for change tools, you just want to watch for things like repeating elements. So, for example, if I try to zap this blemish right here actually might be a mole. I risked duplicating something that's beside it, so just kind of keep an eye out for duplicating patterns so very quickly you can go through and get rid of all those blemishes, and it does an amazing job. As you can see here and again, you still got your original right there. She's still padlocked. Even so, you've not harmed a pixel on your images head, so that's how you can use the spot healing brush non destructively like that you do. You have to remember to turn on sample all layers. Now let's take another peek at using a healing tool in that same manner. We're gonna use the regular healing brush this time. Saul. Zoom in. Come over here. So here's our original lady. She's got some little lines underneath her eyes. Will bags there. So, as you can see, I zapped them on their own layer here. So there's the There's the bag Zap Ege going on. And as you can see, I've learned the opacity quite significantly to make the retouch look riel. So if I pump up the capacity to 100% she looks like she's of Asian descent. And she's not because she's completely smooth under here, which is not natural. So he do this on its own layer than you can decrease capacity so that the retouch looks riel, and you're really only given your client a couple more hours sleep than they actually got instead of changing their facial structure. So let's take a look it at using the regular healing brush non destructively, So I go ahead and delete this layer Here again, we're going to start out by creating in the layer onto which we're gonna do our healing. Since since bags don't fit nicely within a round brush Kirshner, we're gonna have a go with this with the healing brush tool. He lives in the same tool set. So you want to give that click and again, you want to trot up to the options bar and you want to make sure to turn on sample all layers to make elements look through the currently active layer to the one that actually holds pixels underneath. So now we're going to come over here, and I'm gonna make my brush cursor a little bit bigger. It's better to have a little bit of a larger brush when you're dealing with those lines and circles underneath the eyes. With this tool, you have to tell elements where the good skin needs to come from. Unlike the spot, healing brushwork just looks outside of the cursor. This one doesn't do that, so you have to tell it in the way you tell it is to hold down a modifier key, and it's option on a Mac or alter on a PC. And as soon as you hold that key down, you'll see that your cursor turns into a target. That's to pretend like you're a plastic surgeon. That's where you're going to take the skin from to put on this other place. Now, admittedly, you want to set your sample point or target as close to the area you're fixing just so it matches. So if we, you know, cruised on down to her, you know, neck or chest, that skin would not match what's underneath her eyes very well, and it would look very creepy. So we'll go ahead and stick with an area up here close to the line, so I'm gonna option or all its click. Then you can release the modifier key. Now you want a mouse over to the the area, and I want to zoom in just so you can see what's happening. Do you see how my brush cursor is being filled? I'm not pressing down the mouse button, and I actually painting. That is a preview of the skin that's gonna be grafted onto that spot. So you're getting a preview inside the brush so you can change your sample point. Okay, before you actually start painting Okay, so I'll go ahead and click and see the little cross hair or plus sign underneath my brush cursor. That's my sample point moving along with my brush as I'm painting. So I always know where my skin's coming from. That's important when you have somebody who's got a lot of freckles like me because you don't want to introduce repeating things, so that gives you a real clear indication of where the skin's coming from as you're doing it. So as you can see our our bags were all zap, so I'm gonna come over here to the other, I said another sample point by option or Alz clicking on a PC and paint over that area. Now, depending upon the area that you're fixing, you may have to take more than one sample point to get rid of all of it. OK, all the line or what have you so again, right here she looks plastic to me, so I'm gonna lower the opacity down. And to be honest, I usually go down somewhere between 40 and 45% and you may think with that low percentage, why even bother? Look at the difference before and after really discover another hour, two of sleep. It's so much more natural, Natural thing. I will warn you that once you start learning how to do this with a spot healing stuff and and all this kind of stuff, you will be the most popular photographer in your immediate circle of friends and family. Every one of them be, Oh, I want Lisa to take my picture. She just that special stuff in that program. That's what will happen. Okay, so that's using the spot healing brush and the healing brush non destructively. But again, the key is to remember to turn on that sample all layers pre Do that. Okay, let's keep Cruz. And on here, since we've been talking about, uh, the healing tools, we got a new option in elements nine with the spot healing brush in. It's called content aware fill. And if any of you guys were listening to the banter at the top of his class this morning, I told you that it was snatched straight from photo shop CS five, which is really just amazing. This is one of the major new futures of CS five, and here it is in the $80 elements. So I want to show you how it works. It's available with the spot healing brush. So I'm gonna go ahead and activate the spot healing brush and up here in the options bar. If you're running elements nine, you're going to notice a new option called Content aware. So we're going to give that new option to click. I'm gonna leave on sample all layers because I want the this healing toe happen on its own layer. And what we're gonna do to this image is, let's say that this would be the perfect photo for your vacation collection except for all these dead gun people on the beach. How dare that you're trying to take a picture? And here they are, crawling all over the beach. Well, with this new content aware option, you can get rid of it and you won't believe how fast and how easy it is. It really is like magic. So because we want Teoh practice safe healing, we're gonna add a new layer. That's where our healings gonna happen. We've already got sample all layers turned on content, wears turned on. We can do this in one of two ways you can either click and drag to make the items disappear. Or you can resize your brush cursor so that the offending item fits inside of the cursor and watch. Because this one's fast next to the ability to wish something out of your picture. This is the next best thing. I mean, it's it's amazing how well this works for all this Press Command z your control z to undo it. What elements is doing here is it's again looking at the pixels outside of the cursor, and it's copying them in blending. So because we've got such a large area of let's call it free background space surrounding the item we want to get rid of, it works amazingly well. So go ahead, make my brush smaller and oldest pain across this guy, and you'll get that same kind of highlighting that goes on. So if you don't have as much background around, the thing you want is app. Then I'd click and drag with the spot healing tool. But if you've got a big old swat, the background just, you know, center them inside the brush cursor, and as soon as you release the mouse button elements does all the magic, and he's absolutely gone. So we could come over here and get rid of our boogie board and we could get rid of this dude being careful to get his shadow as well. I can get rid of these swimmers. It's really amazing. And this goes back to the whole Who needs a therapist? When you've got photo shop, you've got people who need to race in your picture. Had it, you can absolutely do it now. Where it gets dicey is again if you've got something that doesn't have a lot of free background space. So if you want to delete these tiki torches, good luck. It's never gonna happen because there's too many things around it. If I had just a big swath of sky around those tiki torches than I could get rid of him just like that, we could get rid of this section very easily. But appear with the trees and everything. It would just be a nightmare. It be less frustrating to go back to Maui and retake the shop. Okay, but again, here is all of the zapping that we did. It took place on its own layer so if we go a little overboard, we take out too many people, you know? Oops. Deleted Uncle Bob from the photo will. Then you can come back to this layer and put them back in If you wanted. In that case, she would just erase part of this layer where the zapping occurred. So that's an amazing new future. Arguably worth the upgrade. Pricer up worth buying elements again. His element doesn't have an upgrade price distinct at that one future. So if you got Adams you want to get rid of in your photo spot? Healing brush set to content Aware feels really amazing And it also works on Panorama is eso elements has always had this amazing panoramic stitcher. So three being that you could set up a tripod cause panoramas were wabe when you have a fixed camera so you can take several shots. So if you're shooting something that's too wide for your lens toe to capture, shoot up to 10 shots of it, pop, um, open and elements and elements will stitch them together. Well, what happens during the stitching process is if you don't use a tripod, then elements may have to rotate some of the photos in order to line up the overlapping elements. And that's a great thing to do when you're shooting for a panorama. Is is repeat something in the photo, give it an overlapping element toe, help it in its alignment. Well, in the aligning process, you may end up with empty areas on the top bottom or size of your image. Well, if you stitch the photos using content aware turned on elements will fill in that extra area if had any rotating, and it works amazingly well. So let's go ahead and take a picket that So I'm gonna choose file new and elements Panoramic stitcher is, uh, including the technology called photo merge. Okay, so you're merging photos Kind of makes sense. So you it's not a tool that you call up. You actually create a new photo emerged document. So I'm gonna choose final new photo merge Panorama and Elements is gonna ask you Hey, what photos would you like to stitch together if you've already got them open than this button right here will be lit up at open files and you can add the open files the list. But if they're not already open. You can choose brows and you can go down to where the's live. So I've got a whole folder of images here, so I'm gonna click the 1st 1 and shift click The last J pig and I'm gonna go ahead and choose open elements. Shows me the documents I'm about to stitch so I can preview them and I'm gonna tell it. Okay? And immediately elements opens each image, copies it, paste it into a single document. Okay? And now it's gonna go in and try to auto line and find overlapping elements to try to stitch all these things together. And depending upon the size of the images that you're using, it could take a very long time to do all this figuring. So this is where the content aware fill part happened. So this is a new dialog box that you will only see an elements nine. Would you like to automatically fill in the edges? Case of C elements Had to do some rotating. So all of those the checkerboard area back there is empty space. Wouldn't it be nice if it was filled with sky and sand? So we're going to say yes elements is gonna take another look at all this and you can see over in the layers panel. What's happening here is put each image on its own layer. It's masked out some areas to keep them from being duplicated, and now it's creating a whole nother layer from all of those individual layers that is gonna It's gonna try its best to fill in the sky area as well as sand, and we'll see how good of it a job it does. Sometimes when I do this, I do have to go back in with a spot healing brush set to content, aware in fix a little area or two. But it can do and amazingly good job while still a civil water. While it's thinking on that, there we go. Not that her. Yeah, Wow, that's super Well, um, go back in time. There you go. Okay, so there's the before there's the after using a new content aware fill. Now, if you zoom in, you will see that there's looks like chromatic aberration, trashy pixels going on in here so you could go back in with the spot healing brush set continent where in paint over those areas, but it didnt a remarkable job on the sand. So that's the difference between having to crop your panorama down to, you know, stick of gum size and having it fill it in. So do experiment with that, because it really works amazingly well. Do we have any questions on that part? Absolutely. Um there were quite a few questions that came in about sample points. Giselle in the chat room had asked if you could stop the sample point from moving while using the healing brush. If you have a good sample point and want it consistent across the repair, how do you do that? You can stop the sample point from moving. Let me go back to that image real quick. Here. Go back to our healing brush file number nine. So we go grab our healing brush. Okay? I believe if you turn on aligned, it won't move. Let me add another new layer. Here. I'll turn off this guy. You will have another go, Saul. Hold option or Ault may go ahead and turn on Aligned option or Ault. No, it's gonna move to you. I think there is a way to do it, but To be honest with you, I can't remember what it is off the top of my head. But you can make your sample point be stationary and this pain from it, that's honestly, that's more of a clone. If you really want to do that, you can set up the clone stamp tool to do that. So you can say, Hey, I want a copy, an area of the image and in that case, it doesn't move. So if you wanted to create, you know, have a sample point that doesn't move like that, you might use the clone stamp tool instead. The only difference being between the Clones Central in the healing brush is there's no blending that happens with Clone Stamp. It's just a straight copy. So if you ever do want to see if I can do this at a new layer, I've got my client central active, sample all heirs if he ever do, I want to create somebody with 1/3 I think is the way to do it. So see? But my source point is still moving, though, even if I turn off the line, but it's still gonna move. Yeah, yes, I can't remember how you do that. Another is away. But so the difference between the clone stamp tool in the healing brush is no blending. So it's just a straight copy from one part of the image to another. Turn that off, cause that's creepy. Well, you went ahead and answered Cynthia's question, which was How does the healing brush differ from the clone stamp? Oh, very good, Yeah. Blending versus no blending two for one. There was a question that came in from Maryland. E What is the best way to fix the sky here without getting all gray? Every time I try to fix this guy gets worse. Is she talking about this one? I think this one. Yeah. Okay. I would have a go at it with the spot healing birth set to content aware so we can just give that a shot. I'll add a new layer so I don't miss up what I've already got here. You might have to just do it a little bit at a time. So unfortunately, there will be some copying over of that bad area. You know, onto that area. You could experiment with this tool. You could also experiment with the close stance. You know, if you wanted Teoh, but I think you know, with a little bit of care and a little bit of zooming, you might be able Teoh make it look passable. You know, depending upon the images that you start out with, you'll find that your mileage will vary on this one. So I'd say Experiment with a spot healing brush, set to content, aware or try the clone stamp tool. Either one and you may not be able to get it just right. CR sky looks better here. It's still got a few problem areas, like some repeating elements. But all I did was paint over all of it, and then you can go back in and paint again over the areas that have the repeating pattern in it, you know? So within just a couple of minutes, I could get it looking pretty good. Thank you. Okay, let's keep cruising on. Close this. Let me show you a couple of more useful uses for the new content aware that's to get rid of power lines. OK, so we're going to the exact same technique, so we're gonna create another new layer onto which we're going to our healing. I've still got my spot healing brush active. It's set to content, aware in the options bar sample all layers still turned on. So now I can simply use my left to right bracket keys to change brush size. And in the case of power lines, you definitely want to click and drag. Okay? And they will just disappear just like that again. I had a good chunk of clear sky on either side of power line. Now, over here, it will do a really good job museum in a little bit seeking. See? So I'm gonna have a smaller brush, and I'm just gonna straddle the power line, and I'm gonna paint all the way down the problem Mary is gonna be When I get real close to the cement here, it's gonna try to duplicate a little bit of that. But so Okay, my power lines gone, but I need to zoom in and get that last tiny bit of line that's attached to the building. I need to get rid of that so you might have to play around with different brush sizes, different zoom levels to completely get rid of them. So now, without the power lines, you know that went from a a decent picture, Teoh. Holy moly. So remember the content aware option for spot healing brush when you want to get rid of power lines as well. So that's a really good one to have in your bag tricks.